Thursday, 21 April 2016

DIY Hologram Recording Plate - and Holograms on wine glasses

The new
Blyth diffusion method for making silver halide hologramson glass plates and wine glasses.

Jeff Blyth with horse hologram in wine glass

Introduction

This method is an advancement
on my original system[i]
where I first coated gelatin onto a
glass surface and then diffused in silver salt to make it photosensitive. (This
idea was then also found to be very useful to use on other pre-coated
polymers).

Now a real effort
has been made here to make this method useable for the home-based amateur using
only items purchased from the Internet or from local shops. The new “age of
terrorism” has now blocked the availability of chemicals from the large
manufacturers to the private addresses of peace-loving DIYers .

The silver concentration used here is now three
times higher than that used previously and this has raised the diffraction
efficiency and much increased the photosensitivity. Previously it was found
that pushing the silver concentration up to such a high level caused severe
grain growth and grain growth has always been the bane of all silver halide
holographic emulsion makers and even a century before them, for all emulsion
makers for making Lippmann colour photographs. Here I have made 3
break-throughs in this new system. No.1: I discovered that I could greatly
increase the concentration of silver ion without causing the dreaded severe
grain growth phenomenon, provided that even the lowest levels of chloride ion
residing in the pre-coated gelatin film could be first removed and that this
could be simply done by first soaking the gelatin coating in a concentrated
solution (soln) of potassium or sodium nitrate causing an ion exchange
mechanism. No.2: I found that if I made my gelatin “emulsion” with silver
chloride (AgCl) rather than the conventional silver bromide (AgBr), I was able
to increase the photosensitivity by a factor of 3. The hologram still finishes up made in the
conventional higher diffracting AgBr because I use a conventional bleach
formula containing bromide ions. No.3: there is usually something present in
shop-bought culinary gelatin which causes a degree of chemical fogging in the
development step and that this could be prevented by simply adding a small
quantity of copper sulphate to the gelatin soln prior to coating the film.

By pre-swelling before the exposure is made with a HeNe redlaser, the holographic horse is yellow rather than red. Bypreswelling still more the horse image is green as in above photo

Chemicals available from the Internet

The first 2 on
this list are especially important to be the purest you can get off the
Internet. The rest are less critical but should be better than 90% pure if
possible. Some of these chemicals will be used for making up the developer and
bleaching solution later after the plates are made. The chemistry there will be
dealt with in a separate section.

Silver nitrate (AgNO3) This is available in 10g quantities. It needs to be as pure as possible via AMAZON or eBay. There is only one impurity that really matters though, and that is chloride ion. It needs to be not more than 5 ppm or 0.0005%. I discuss this below in section “(14)”.

Potassium Nitrate “Food
Grade”via eBay or AMAZON.

“Food Grade” has
worked OK. But it does have the disadvantage of containing an anti-caking
agent. When a 10% solution is initially made up, this agent causes haziness instead
of making a completely clear solution (soln). This haze will also stain the
finished gelatin film. So one must make up the soln well in advance before use,
then allow the agent to settle out and then carefully decant off the upper
clear soln into another bottle. High purity sodium nitrate would be best but most offers are of lower purity
than the food grade potassium salt, the offers also are confused with the completely
unsuitable sodium nitrite.

Sodium Chloride. Normalsupermarket grade seems to be OK here. Even though it may contain small
amounts of an anti-caking agent such as sodium ferrocyanide.

Chromium Potassium Sulphate (or Sulfate) via AMAZON or eBay. This
should be a purple powder . It is also called Chrome Alum. The green powder sold as Chromium sulfate (basic) is
not suitable. Straightforward “Alum” or aluminium potassium sulphate is apparently
useless as a gelatin hardener for us here.

Acridine Orange
via eBay (but not AMAZON). This is listed as “microbiological stain”. A bottle of 5g listed as “50%” from APC has
worked well for use with a 532nm laser pointer .(Unfortunately the dye needed
for red lasers I have only managed to get direct from Sigma-Aldrich or other big
chemical companies , see section 19).

Methanol 1 litre via AMAZON or eBay.

Copper sulphate or sulfate. The
blue crystals are easier to obtain than the white anhydrous compound, so my
formulations are based on using the blue pentahydrate from eBay or AMAZON.

Developer chemicals.

Ascorbic acid (pure vitamin C
powder). Ubiquitously available.

Metol
From eBay

Sodium Carbonate anhydrous. From
eBay, (this must not be the very impure “washing soda” crystals).

Sodium Hydroxide from
eBay. A quite good grade is needed, (not
the one sold just for clearing drains).

Bleach Chemicals

Copper sulphate (sulfate) (already listed above)

Acetic acid from eBay

Potassium Bromide
200g analytical grade, available
via AMAZON

Anti-Printout chemicals

(“Print-out” is an old term used by photographers. It means a
darkening occurs in the finished photograph (or hologram) in sunshine or bright
lighting. AgCl exhibits the effect more strongly than AgBr. Here holograms made
from emulsions that originally contained AgCl rather than AgBr are more liable
to print-out even though they finish up being made mostly of AgBr, they still
retain some AgCl. So an anti print-out step is important.)

Sodium persulfate (or ammonium or
potassium) from eBay.

Sodium hydrogen sulfate (sulphate) from eBay

Glass sheets. These are referred to here as “sheets”
when buying the glass and “plates” when being turned into hologram recording
material

It is convenient to use thin glass sheets of 2mm thickness
for making small holograms up to say 5 x 4 inches for ease of cutting. However thicker glass is probably necessary
for larger ambitious holograms because thin sheets can bow during exposure in a
horizontal set-up.

I find it very
convenient to use those 10 cm square disposable laboratory weigh boats (from
the Internet) as dishes to hold the solutions needed to process an exposed
hologram. The great feature of
these boats is that when they contain about 60 ml (but not more) of developer,
another boat can float on top and this can effectively keep the developer
active for many hours whereas in an open uncovered dish oxygen absorption will
exhaust the developer in about half an hour. Also although the other dishes
needed are not all affected by oxygen, they can be affected by evaporation, so
such lids are used on them too.

Disposable 10 cm square weigh-boats used as trays to holddeveloper and bleach.A second tray acts as a floating lid to delay oxidation andevaporation.

To accommodate to
these dishes I have been purchasing plates 2mm x 240mm x 160 mm. This is a
convenient size for the gelatin coating procedure and is convenient for cutting
into six 80 mm square plates that are a nice size for fingers to place in, and then
take out of the dishes. Of course those fingers should be rubber-glove-covered.

I also purchased 1
or more “carrier” sheets . These sheets were 4 mm x 270mm x 190mm. These
thicker glass sheets allowed one to place the thinner glass on top with a 3 cm.
border all round.

“Subbing” the glass.

Failure of gelatin
film to adhere reliably to the glass surface can be a major problem. A common
way to get adhesion is to use certain silane compounds which cause attraction
chemically to the silica constituent of ordinary glass. However I have tried 3
different brands of “silane” off the Internet which were sold as aids to help
bonding when using epoxy resins. These were not fully satisfactory as they
frequently failed to do the job. I found
a better answer to this problem was as follows.

I leave the glass
sheets for half an hour or more in 100% domestic bleach. I then rinse them in
running tap water while wiping them well with a cloth.

I then mark the
back of the 2 mm glass sheet with a black “permanent” marker pen with say a
“B”. (If there happened to be a scratch on one side of the glass then that
should be the side that will be gelatin coated, as the gelatin film will later
hide the scratch). I then hold the sheet at an angle of about 45degrees and
place a clean collecting tray at the bottom end. I then pour a very dilute
solution of gelatin and chromium potassium sulphate (detailed below) all over
the front of the tilted plate. Although quite dilute, the gelatin content in
the soln is sufficient to reduce the surface tension enough to allow a film to
form, rather than form droplets. This
plate is then left to dry leaving a very thin film of gelatin and chromium
salt. Once dry, the sheet was placed with the treated side face-up into a
preheated oven at 190-200C for about half an hour. The gelatin soln for this
subbing was a diluted form of the gelatin soln used to make the main coating
soln detailed below. So 5 ml of the soln detailed below was added to 100 ml of warm
water and then 5 ml of stock chromium potassium sulfate soln. was added. This stock
chromium soln was 4% soln. of chromium potassium sulfate and 4% glycerol.

Stock Gelatin coating solution

1)I
prepare a stock solution of shop-bought leaf gelatin of

12 g. in 100ml of cold deionized water. This is then placed

in a water bath to prevent the gelatin getting over-heated.

A thermometer is used in the inner gelatin bath to check that the temperature
does not rise above 51 oC , while being constantly stirred for about
20 minutes or more. This is then filtered through a cotton handkerchief or
nylon stocking to remove any froth from the surfaceAbout 0.5g copper sulphate CuSO4.5H2O is
then added to about 3 ml deionized or distilled water, (DI) and the soln is then stirred into the gelatin soln. (There
is often something in the shop bought gelatin that is inclined to cause mild
chemical fogging. Also if the gelatin soln is over-heated this chemical fogging
can become severe. This term “fogging “ is not related to the terms “haziness”
or “scatter” mentioned later. “Chemical fogging” is a term used in photography
to mean a degree of darkening (caused by fine silver metal grains) in developer
not caused by light.

2)About
4ml of glycerol is then stirred in. I then pour it all into a clean bottle with
a screw cap. Prior to coating I heat this stock solution up to 50 oC
max. in a warmer.

3)I then
take 2 glass sheets , one is 2mm x 240mm x 160 mm. (This size is convenient for
cutting into six 80 mm square plates that will fit into those disposable 10 cm
square weigh boats) . I use a 4mm thick glass sheet to act as a carrier sheet. The carrier sheet is 4 mm x 270mm x 190mm and
the first glass sheet is placed on it, to make a margin of about 3 cm all the way round. Using PVC insulation tape,
the thinner glass sheet is then taped down onto the carrier sheet with about
3mm of tape covering the perimeter of the thin sheet. I then place both this sheet combination
and a clean plastic tray in the warmer together with the gelatin solution so
that everything gets to 50 oC

4)I then
take out the warmed sheets and put them in the tray on a horizontal surface .
Then working quickly I pour roughly 20
ml of the gelatin soln. onto the centre of the thin glass sheet and quickly
spread the gelatin puddle all over the sheet by hand so that the whole area of
the sheet is wetted by the gelatin soln. I then quickly lift up one end of the
sheet pair leaving the other end in in the warmed plastic tray and incline the
sheet at an angle of about 45 degrees and pour the rest of the gelatin across
the top end so that it all runs down smoothly as I move the bottle across the
top. I then lift the sheets up off the
tray so that excess gelatin drips off the bottom for no more than 15 sec. (If the initial wetting with the gelatin solution
had not been carried out then the poured film would not have properly covered
the sheet evenly).

5)I then
quickly place the sheets on a cool flat horizontally correct surface, free from
strong air currents.

6)I then
pour the remaining gelatin in the tray back into the bottle, screw on the lid
lightly and put the bottle back in the oven at 50oC. for about 5
minutes before screwing on the lid tightly and storing the bottle at room
temperature for re-use at a later date. (So far I have had no sign of any moulds
growing after leaving the gelatin soln. at room temperature for 6 months like
this).

7)When the
gelatin film has gelled, I then remove most of its water content by leaving the
sheet in a good flow of room temperature air from a fan.

8)When
the gelatin film is touch dry I run a scalpel blade around the tape border to
avoid any gelatin being torn off the glass when I remove the tape before the
next step.

9)With
the tape peeled off, and the gelatin touch dry I then place just the coated
sheet in a clean tray, and pour over its surface a chilled soln (at~5oC)
of previously made 4% chromium potassium
sulfate with 4% glycerol. After about a
minute, I remove the sheet and shake it, the sheet is very soft and vulnerable
at this point, so I very gently touch any droplets still on the gelatin face with
a tissue, and also wipe off the back of the sheet. I then stand the sheet up and leave it drying
in front of a fan with a good air flow.
Meanwhile I pour the chromium soln in the tray back into its storage
bottle and keep it in a fridge for further use. (If the chromium soln later
loses its purple colour and starts to look greenish then it should not be re-used).
It is then left in a cold airflow overnight. (The gelatin hardening by the
chromium salt only really takes place when the gelatin film is in a relatively
dry and unswollen state. An oven or warmer at 50 oC could be used
instead to speed the slow process up to about an hour, but the gelatin film MUST
firstly be made dry under a cold blower before being put in a warmer). If the room is below 20 oC it is
best to use the warmer anyway, otherwise the slow hardening process may still
be incomplete after 12 hours.

10)I then
rinse the sheet front and back in running tap water and then with 3 changes of DI
water. (Unlike the notorious dichromate which is (CrVI), it is OK here
to let a small amount of this form of chromium (CrIII) go down the drain).

11)The
sheets are then left in a bath of 0.10% sodium carbonate for about 2 minutes only
and then briefly rinsed in DI. (Making the gelatin slightly alkaline
contributes greatly to its ability to bind silver ions later).

12)The sheets are then left for several hours or
overnight in a 10% soln. of pure sodium or potassium nitrate for the essential process of removing any
chloride ions by a slow ion exchange mechanism.
This time can be cut down to about an hour if the solution can be continuously
mechanically agitated. The soln can be reused a number of times, depending on
the amount of Cl ion it has exchanged for NO3 ion. Note that if the nitrate is
from “food grade” potassium nitrate it should be a clear solution that has been
decanted off from a whitish precipitate of anti-caking agent that has been
allowed to settle out from an initially
hazy solution.

13)The
sheet is then rinsed well in DI and dried in a cold air flow so that it will be
ready to allow silver nitrate to diffuse in. N.B. I have to be very careful to avoid any
contamination from traces of chloride
ions on the wet gelatin at this point. e.g. from tap water splashes, fingers,
sneezing over it or forcefully pronouncing words with the letter “P”!!!
(Otherwise tiny amounts of AgCl produced from stray Cl ions will grow into
horrible big white grains in step 20 later.)

14) A concentrated stock soln. of silver nitrate (AgNO3) is prepared well before use by making a soln of 10g of silver nitrate crystals to 50 ml of DI water in an ultra-clean glass bottle. The one really bad impurity is trace amounts of chloride ion. To minimize this impurity one should store the solution in a fridge in a glass rather than plastic bottle to encourage trace amounts of AgCl to deposit on the glass and hopefully stay there. Do not stir it up and do not use it immediately after making it up. Also this relatively expensive solution is very vulnerable to contamination. I am very careful not to allow any paper tissue particles to get into the stock bottle as such organic stuff can cause the soln to go brown due to colloidal silver formation, which could cause fogging during thedevelopment step.

15) I then use the thick glass carrier sheet (carefully cleaned and free from halide traces) as a flat surface to coat the gelatin film with the silver nitrate solution by a puddle method . The room lighting does not need to be at a low traditional darkroom “safelight” level at this point. A low wattage tungsten filament bulb (eg. around 15W) is OK but not fluorescent “daylight” lighting. Using a clean syringe or pipette, I deposit a certain sized blob of silver nitrate soln. close to an edge of the carrier sheet. I then carefully place a cut piece of the gelatin coated sheet on top of the blob so that about a half to one cm. of the sheet protrudes over the edge of the carrier glass. The blob of silver nitrate soln then spreads evenly and easily over the gelatin film by capillary action except of course for the bit protruding over the edge of the thick carrier sheet. This overhang bit is useful for handling the sheet without touching the silver nitrate. The AgNO3 is allowed to soak in for about 2 minutes only. The size of the blob is roughly as follows; for an 8 cm square plate, my blob is made from about 2.0 ml of the Ag solution. It is important that there is enough soln. to keep the plate freely moveable and to prevent the plate from being sucked down onto the carrier sheet. If sticking occurs then the gelatin layer gets damaged irretrievably . The puddle coating system usually works particularly well if the carrier sheet is first treated with “Rain-X” which is obtainable from suppliers of automobile sundries. This stuff makes the carrier glass water-repellent and helps to restrict the silver nitrate solution from straying beyond the thin glass sheet boundary).

16)The gelatin
film then needs to have any AgNO3 soln. on the surface to be wiped off with
care. A small car windshield wiper blade can be used as a squeegee and the
rubber washed clean in DI after each use. Alternatively a clean doubly folded tissue
folded over a ruler can be used as the wiper blade but using only one quick single
wipe per tissue. (The tissue may contain low amounts of Cl- which could flow
into the gelatin if more than a quick single wipe is used).

17)The plate is finally dried in a cool air
flow, I check to see that there is no scatter at this point. If there is just the
slightest mild scatter over the plate at this point then the plate should be
discarded, (unless it was just caused by that anti-caking agent in KNO3). Because it means there was still some chloride
ion contamination in there and the scatter will get much amplified in the step
using a chloride and dye bath in section 20. If there is scatter in just a
small part of the plate area then that probably means some chloride or bromide
contamination from handling fingers that had been in tap-water, but it may be
worth continuing by ignoring a small scattery area around the edge.

Preparation
of stock sodium chloride and dye solutions.

18)I
prepare a 1 litre soln as follows. I add 41g. sodium chloride (NaCl) to a 1
litre bottle and add 334 ml of water, then after it has dissolved, I pour in 666
ml of ethanol or methanol. This makes a 2:1 alcohol : water soln. (These
quantities do not have to be that precise, even a 10% error will probably be
OK).

19)For
the 8cm square plates, I take a 100ml of the stock NaCl soln. and add 2 ml of
stock dye soln , then I use about 70 ml of this soln in one of those 10cm
square dishes . The stock dye solutions are
made as follows. For green lasers I
prepare 0.5g of Acridine Orange (A.O.) per 100 ml of a 2:1 ratio of alcohol :water. The A.O. I got off the
Internet is described as “50%” acridine
orange.—It has worked well. For red
lasers I use pinacyanol chloride, (its old name was “quinaldine blue” ). I prepare a stock soln of 0.3g of pinacyanol
chloride in 100ml ethanol or methanol, (pinacyanol bromide or iodide can be
used instead). It is most regrettable
that I have not managed to buy this dye on the Internet as an ordinary citizen
yet. This is the one item that I have had trouble with. A Chinese company does
offer pinacyanol iodide on the Internet but the shipping costs quoted for just
1 gram are utterly ridiculous. So my dye had to be bought professionally from
Sigma-Aldrich).

20)So to
make my plate photosensitive I now have to work under an appropriate safelight;
dim green for making red sensitive plates and dim red for making green
sensitive plates. The safelight does not need to be as dim as was used for
traditional photographic darkrooms where much more photosensitive material was
used. One can get an idea of how much
light of the wrong colour is coming out from your safelight from looking at the
rainbow spectrum you get off the surface of any DVD held in the area of the
room where you are working. I find that the “REMOTE CONTROLLED AUROGLOW” bulbs obtainable
via AMAZON are excellent as safelights as they have instantly selectable colour
and brightness .

21) I take the dried plate containing the AgNO3 and
plunge it quickly into the chloride/dye
bath for 45 seconds , agitating it constantly.
(The time in this bath governs the grain growth. If it is too long the grain
growth can get unacceptable, whereas if it is too short then a lot of silver
nitrate could remain unconverted to silver chloride). After the 45 seconds I
then without delay plunge the plate into a dish under cold running tap water and I leave it in for at least a couple of
minutes or more.22)Then the plate is inspected under reflected safelight. It must look scatter free or at least only show a very slight haziness . If there is bad scatter then the probable cause is a failure to remove traces of chloride ion effectively from the gelatin before the silver nitrate soln was applied. If the scatter is slight then it may be worth continuing anyway. Scatter just around some of the edges is quite likely to occur due to increased thickness and handling. The edges should not be included in the final holographic image anyway. Accidental areas of much greater thickness may also still contain unconverted silver nitrate. Such areas will turn rapidly black due to a deposit of silver metal when they meet the sensitizing bath of 2% ascorbic acid discussed in the next paragraph. They would also fog badly in the final development step of course. If one tries to eliminate any unconverted silver nitrate in accidentally thick areas around the edges by prolonging the time spent in the halide/dye bath, then an increased level of grain growth occurs in the thinner areas that are OK after just 45sec. of immersion only. The best one can do if unconverted AgNO3 is still thought to be lingering in thickly coated areas is to prolong the time in the running tap water, e.g. for 10 minutes, (the water should be really cold). To maintain a final replay colour close to that of the laser wavelength, I then put the plate in a bath of 2% ascorbic acid (vitamin C) that has been taken to a pH of about 4.5 with sodium hydroxide. To get this pH I carefully weigh out and dissolve 2.8g sodium hydroxide in 1 litre of DI. Then add 20.0 g vitamin C. Without this vitamin C treatment the light sensitivity of the plate is low. I then give the plate a rinse in DI.

23) If I want to make bright green holograms from
a red laser, then I must not use the
ascorbate bath but instead I immerse the plate in a bath of 15% triethanolamine
or ”TEA” for about a minute. (Treating with both ascorbate and TEA causes
chemical fogging or darkening without light involvement).

24)I then
carefully wipe the surface free of droplets using either a wiper-blade squeegee
or doubly folded tissue over a ruler similar to that used for the earlier AgNO3
treatment, (but now I do not have to worry about any contamination from
chloride ions).

25)I then
leave the plate under a cold air blower for 20 minutes to acclimatize with
ambient humidity. It is then best to leave the plate in a cardboard dark box
until the next day when you are making larger holograms because the gelatin
surface is probably not going to be stable enough for longer exposure times of
more than say 4 seconds. However you
will probably want to at least make some necessary exposure tests on small
plate pieces before that. I find it best
to do initial tests on a glass top table with the spread laser beam coming up
from underneath the table or any frame able to hold a horizontal glass sheet. Initially it is best just to make a
photographic exposure test. With the beam shuttered I place a piece of my recording
plate on top of some masked off area , such as the piece of negative with
lettering on it in the image below hat had been put in the beam before it was
shuttered. The laser exposure times need to be sufficient to give a development
time of about half a minute or less at 22C (see below under “Development
Time” discussion). The “photographed” unmasked off area should look quite dark
whereas the masked off area should be no more than slightly dark, ( if it is
nearly as dark as the unmasked area than that means that I have a fog problem
either caused by stray light or chemistry in the gelatin).

This is the rig I use for initially testing newly madehologram recording plate. A sheet of 5mm thick glass restsover a frame of a stool. Under the glass sheet I have a 4 mwred laser pointer sitting in a glass jar. The laser has beentreated as per the images below. The beam is shuttered offwith a piece of black card stuck to an upturned plasticbeaker. On top of the glass are various objects for makingexposure tests. I often start with making just aphotographic image of a piece of film negative withlettering by placing the lettering in the centre of the beamand then with the beam shuttered I put a piece of plateontop of the negative for an exposure test. To makeholographic tests I place objects ontop of a piece of plateand give them time to settle before exposing. The aluminiumcups are useful for putting over objects so that more laserlight can be used to illuminate the sides of an objectprovided the laser has enough coherence length (see finalsection "Lasers"). This simple set-up is very good formaking simple holograms in unstable environments.

For a
holographic test, the beam needs to be almost but not exactly perpendicular to
the plate to make the traditional test with polished coins. With the beam shuttered,
the coins are placed on top of the recording plate preferably on the glass side
of the plate, and left for at least 10 minutes to settle. A newly made gelatin film
may contract by a nanometre or two during exposure while it is thus sandwiched
between the 2 glass sheets but simple coin holograms can still be obtainable
because the coin to “emulsion” distance should stay the same at least for most
of the emulsion attached to the plate’s glass. The important point about this
test is to see how quickly the exposed hologram takes to darken in a developer
such as TJ1 (see below). This glass table top system is excellent for making
holograms in an unstable environment because the plate and object can “ride the
storm” together.

Coating Curved glass surfaces such as
wine glasses.

Martini glass with cut-off stem to afford possibility of constrcting a hologram with an all-round view

Wine-glasses have the very convenient property of being able
to act as their own processing baths.

It is best to do several glasses at the same time. I recommend getting 2
packs of 4 cheap plain wine glasses of about 250 ml (cc.) capacity.

I first fill the glasses to the rim with either undiluted or 50% diluted
domestic bleach solution.

The bleach is left in each glass for about 15 minutes or longer. The bleach
is then poured back into a bottle for re-use, and the glasses are rinsed well
in running tap water and wiped around with a cloth before being given a rinse
in DI.

Each glass is then coated with the subbing layer described above under the
title “Subbing the glass” but this time more conveniently, the subbing solution
is poured into the glass and the glass is then tilted so that the soln wets the
side of the glass up to the rim and the glass is then rotated so that the whole
glass is wetted, the soln is then poured into the next warmed glass and so on.
The treated glasses are then left standing in an airflow so that the very thin
subbing film gets dry.

The glasses are then placed in a preheated oven at 190-200C for about a
half-hour. They are then allowed to cool and are given a rinse in DI.

The glasses are then placed in a warmer at 50 C to dry. The bottle of stock
gelatin solution should also be in the warmer and also a plastic or glass
beaker with a spout.

A typical wine glass holds about 250 ml. of soln. So I take 100 ml (or it
can be less) of the 50 oC gelatin stock solution prepared as
previously described and I pour it carefully and slowly into the warm beaker
while trying to avoid creating any bubbles. The beaker is then used to
carefully pour the gelatin soln into the wine glass without creating bubbles,
(the spout makes this requirement easier than pouring straight from the warm
stock bottle). The wineglass is then
tilted and rotated so that the inside is all wetted by the soln up to the rim
of the glass. The gelatin is then poured slowly from the glass back into the
beaker trying to again avoid creating bubbles. The glass is then upturned and
placed on a clean surface allowing the gelatin solution to flow down to the rim
before gelling at room temperature. Meanwhile the beaker of gelatin soln is
poured into the next glass at 50
oC and so on. The
soln in the beaker should not be allowed to drop below say 40 oC or it may get too viscous to coat properly. (I do not
recommend using a few seconds in a microwave oven to reheat it as I find that
it can damage the gelatin and cause fogging later).

Once the glass is cold and the gelatin film has gelled, then just the rim of
each glass is carefully dipped into a bath of warm water to remove that thick
gelatin layer around the rim. I try to not let this water level go higher than
about 3 mm up from the rim. The glass is then still held in an upturned
position and just the rim is wiped free of water droplets so that these
droplets will not run down into the glass when it is placed upright. The upright
glasses are then placed in a strong cool air current to remove the excess water
in the gelatin. Once the gelatin film is
unswollen (except for the partial swelling caused by the glycerol present), it
is ready for the hardening solution to be poured in. The hardening soln is as
described previously. Namely 4% chromium
potassium sulfate soln with 4% glycerol chilled to about 5 oC. This solution is swirled around the wineglass so
that it wets all the gelatin film and is then emptied into the next wineglass
and so on. If the chromium soln has not run down the sides of the glass evenly
when the glass is stood upright then any droplets should be gently removed by
just touching with a paper tissue (do not wipe as the gelatin is very soft at
this point), as only the absorbed chromium solution is wanted and droplets can
cause a mark on the surface later. The wineglasses are then left upright in a
cool airflow for several hours to harden. This hardening process is slow and if
the room is particularly cold overnight say then it is best in the morning to
warm the glass in a warmer at 50 oC for 20 minutes or more, or with a hairdryer at about 50
oC for a few
minutes to finish off the hardening process.

Any excess chromium salt is then removed under cold running tap water. [Unlike
the notorious dichromate which is (CrVI), it is OK to let a small amount of
this form of chromium (CrIII) go down the drain]. The glass is then shaken free
of tap water droplets and rinsed at least three times with DI.

Each glass in turn is then filled to the brim with a 0.1% solution of sodium
carbonate for about 1 to 2 minutes and is then rinsed briefly in DI.

Now follows the vital step of removing traces of chloride ions from the gelatin
film. Each glass is filled to the brim with about a 10% solution of potassium
or sodium nitrate. They are then left
for several hours for the ion exchange process to occur. (Cl exchanged for
NO3). The nitrate solution is then poured back into a bottle where it is probably
reusable several times more. The glasses are then rinsed in DI three times and
left in a warm air-flow. When dry they are ready for loading up with the silver
soln.

Diffusing in silver
nitrate solution

For
your first wine-glass experiments it is best to only expose one side of the
wine glass and therefore you should only put your expensive silver solution on
one side of the glass.

Covering
the whole glass with silver causes real complications for an object such as a
model figurine, because it will record a photographic shadow on the opposite
side of the glass. It will also record spurious rainbow coloured effects due to
transmission type gratings . However, it
is worth covering the whole glass with silver solution if you want to just do a
simple hologram of the glass filled to the brim with say coins. Then 2 exposures can be made 180 degrees
apart and each exposure will not be affected by an exposure on the opposite
side of the glass.

So
for making a reflexion hologram on one side of the glass only, you need to
first decide which half of the coating looks the best to use and then use a
marker pen to put a cross on the other side that you do not want to use. To put
the silver solution into one half of the gelatin film you need a new disposable
rubber glove at least on one hand. Using a 1 ml clean plastic syringe take 0.5
ml of the silver nitrate solution, and holding the glass horizontally with the
future image side down, gently empty the syringe onto that concave surface.
Then use your gloved forefinger to wipe the silver solution only over that
designated half of the glass. Spend at least 2 minutes gently wiping that
solution over just that half of the glass. At first it might seem that the
solution is not wetting the film surface well and is forming droplets. However
as you work at rubbing it into the gelatin, the gelatin’s surfactant properties
start to kick in and the silver soln spreads more easily. This operation can be
done in subdued ambient lighting such as that from a 25W or 15W tungsten
filament bulb, there is no need for a proper safelight at this stage but it is
vulnerable to fluorescent or blue-rich lighting. Once the gelatin layer has
absorbed the silver solution, it is important to remove any excess solution off
the surface or it will scar the finished hologram. I use a folded tissue to gently
wipe the gelatin surface free of solution. Only use the tissue for one single quick
wipe then throw it away and use another clean tissue if needed. If you plan to
use the whole glass for 2 images on opposite sides then you will need to use
1.0 ml of silver nitrate soln and spend at least 3 minutes rubbing the solution
over the whole surface before wiping off the excess with tissues.

The
glass should now look clear and scatter-free at this point, a hairdryer is now needed
to dry it in a tepid airflow because it must be fairly dry for the next step,
but a hot blow must not be used.

Sensitizing the gelatin
film.

Suitable safe lighting is now
needed for the next steps.

The
average wine-glass will take 250 ml of liquid.

So
it can be convenient to pour say 300 ml of the stock sodium chloride (section 18
above) into a beaker and add about 6ml of the stock dye solution (section 19).
Then about 250 ml of it can be rapidly
poured into the wineglass and left in for only 45 seconds and then quickly poured
back into the beaker and the glass then put into running tap water with minimal
delay. A beaker should be used each time for each glass rather than pouring
from one glass to the next. The timing
here is important because if it is too short , not all the silver nitrate in
the gelatin will be able to be converted to silver chloride and if it is too
long there will be quite rapid grain growth. The thickness of the gelatin layer
is also a factor in determining the optimum time. To stop the reaction of the sodium chloride
solution, the glass is filled rapidly with running tap water and left in the
water for several minutes. It is then
shaken free of tap water and given a brief rinse in de-ionized water and then
filled with about 3% vitamin C solution that has been taken to a pH of between 4.5
and 5 with sodium hydroxide or with sodium carbonate (a pH of over 7 acts as a
developer and will cause chemical fogging) the glass is then given a brief DI
rinse and left to dry in a good cool air flow. If you wish to use a red laser
to make bright yellow-green holograms then the ascorbic acid treatment should
not be used and should be substituted with a soln of 12% TEA. After a minute or
two in this TEA solution, the gelatin surface should be gently wiped with
tissues so that no droplets or rivulets remain. The outside of the glass should
be wiped too of course so that it is smear free. The photosensitive glasses should then be
dried in a good air flow and left to equilibrate in a light-tight cardboard box
or cupboard. They should not be used till at least a day has passed because the
gelatin layer will probably be quite unstable for many hours.

The
Developer

It is most convenient to have a 2
part developer in two one litre bottles labelled A and B. The developer can
keep indefinitely in these separate bottles. They are then used by mixing equal
volumes.

The developer below has been christened “TJ1”
developer. (In honor of the late Tung Jeong who asked me to make a
suitable developer some years ago for teaching his students).

Part A

6g Metol (4-methylaminophenol sulfate)

1 litre deionized water

Dissolve up first then add:

40g. Ascorbic acid (vitamin
"C")

(Without the Metol, the developer will still work but is slower to act and
the results may be less good.)

Part B

100g sodium carbonate anhydrous

30g sodium hydroxide

1 litre deionized water.

(This one should be labelled "very caustic" use rubber gloves and
eye protection --guard against splashing it around.)

Just use equal volumes of A and B. For the 8 cm square flat glass plates,
use the "floating dish" method. Two close-fitting plastic dishes are
arranged so that one floats on top of the other. The volume in the lower dish
should be just enough (50-60 ml) to give a minimal air gap so that the uptake
of oxygen is minimised and the top dish can be used as a rocker to agitate
developer over a plate.

In the case of wine glasses, they can
be rapidly filled to the brim with developer but because the development time
needed may be only a fraction of a minute, I find it best to first wet the
exposed glass with DI and then rapidly
pour in roughly 60 ml of developer and then twirl the glass around while
looking through it at the safelight with one eye closed to judge when the
amount of darkening is sufficient as described in the next paragraph. The
development does not stop by emptying the developer out into a beaker
and will continue on while you are inspecting the darkening. It is stopped by
giving the briefest rinse under running tap water and then pouring in the
bleach solution.

Development Time

Developer TJ1 is intended to react quickly (to keep the silver grains
spheroidal rather than filamentary, and to minimize damage to the gelatin in
the strongly alkaline solution). So sufficient exposure level to give a
development time of only 15-30 seconds should be aimed for. To judge when the time is enough if you have
not had previous experience is a little tricky because it is rather subjective.
Here is my method for beginners:-

Take a small sample of the holographic recording material you will be using
and totally expose it to bright daylight for at least 5 minutes. Then put it in developer for a minute. Then
wash it well in a bowl of tap water and dry it . Now keep that piece of plate or film as a
reference for your dark room. With your
eyes adapted to your darkroom safelight, shut one eye and look through that
piece of reference plate at your safelight.( Holographic recording material is
never completely opaque). The degree of
transparency or optical density of your reference plate tells you that the
darkest parts of your developing hologram must never get as dark as that
reference plate as judged with one eye shut. I just go for a “half as dark”
subjective estimate, while holding the developing plate up to see the safelight
through it. I then plunge plate into a
dish under running tap water and then into a “stop bath” of 5% acetic acid, or
straight into a dish of bleach solution which also contains a lot of acetic
acid and oxidant which rapidly stops the development process in the plate.
Ordinary room lighting can then be switched on.

It is best to first wet your plate in DI before putting it in developer
because it helps to even out the development over the plate area when the
development is going to be rapid. If the plate in the white dish of developer
appears to go black in only about 5 seconds then that means the development
should be brought to a halt within about 15 seconds (allowing for that very
rapid one eye inspection of the safelight). In that case do not carry on
developing for a minute just because that is a more conventional developer time. More often than not, a rapid development and
rapid stop in a bleach bath give the brightest results. However, if the film
only starts to darken after about 15 seconds then about a 1 minute development
time is probably about right in TJ1 developer but it may still need to be
longer. Ideally the laser exposure times need to be sufficient to give a
development time of not more than half a minute at 22C . A room temperature below
20C will however slow the whole process down. The development is stopped by
first rapidly plunging plate into a big tap water bath for a second and then
into a bath of the recommended bleach soln.

The developer's useful lifetime with the floating dish method can be days,
depending on usage. A yellow or mild brown colour means the developer is still
good. When the developer is very dark brown it should be discarded. (It is the
Metol constituent that is causing the brown colour when it is oxidised and it
acts as a helpful indicator of exhaustion).

Bleaching
solution

For reflection holograms, I find the most easily obtainable bleach is made
as follows:-

20g. Copper sulphate (CuSO4. 5H2O)

80g. Potassium bromide (or sodium
bromide)

70 ml Acetic acid

DI to 1 litre.

This is known as a rehalogenating bleach. (This is not the best for
transmission holograms however). The
bleach does promote grain growth, so the time in the bleach should be
minimized. The bleach process should not be allowed to take much longer than
about a minute. If there is a very dark area (due to over-developed up silver)
that has not gone after about a minute and a half , it is best to stop the
bleaching reaction anyway and wash the plate under running tap water . That
still dark part will clear in the final bath used next. As this bath does not
contain a lot of bromide ions there is no tendency for it to encourage more
grain growth.

After rinsing well
under tap water, a final bath to prevent “Print Out” is needed.

Anti-Printout stock
solution

“Print-out” Is an old
term used in photography . It means a darkening occurs in the finished
photograph (hologram) in ambient lighting , particularly in sunshine.

40 g. Sodium persulfate (or ammonium or potassium persulfate)

40g. Sodium hydrogen
sulfate

DI to 1 litre.

3 minutes in this bath followed by a very brief rinse in DI
gives good print-out resistance. (Always make sure that your final rinse water
is free from any traces of developer ).

Bleach for transmission
holograms.

The anti-printout solution above will also work as a bleach for transmission
holograms. This type of bleach is known
as a “solvent bleach” which means that all the developed-up silver goes into
solution and the final hologram will be made only from the original silver
halide in the dark fringes that did not develop up, leaving the light fringes
as just gelatin. It is very important
in this type of bleach to have the developed-up plate well washed in DI before
going into the bleach bath. This is because the plate has to be free of soluble bromide salt as does the bath
itself. Then after the bleaching process
is complete the plate should again first be rinsed in DI water before being
given a final tap water rinse. The reason for this requirement is as follows. A
final hologram’s diffractive efficiency relies on the refractive index
difference between its light and dark fringes i.e. its fringe contrast. In the
solvent bleach system the fringe contrast is got from silver halide left in the
dark fringes against just gelatin in the now emptied-out light fringes. The
removed dark silver metal is now ideally all in solution as soluble silver
sulfate. However if any soluble halide ions were still present
in the gelatin then these will combine at once with the developed-up silver as
it is being oxidized to silver sulfate and the silver will be deposited back in
the light fringes as silver halide where it will spoil the fringe contrast
because the light fringes will not be just emptied out gelatin. In case you are
wondering where soluble halide ions in the gelatin have come from, the answer
is that they are always going to be produced by the developer---as the silver
bromide gets converted to dark silver metal and the bromide goes into solution
as sodium bromide salt.

Lasers

The set-up for exposing the horse hologram is shown hereunder HeNe light. The horse is suspended half way down thewine glass by means of a screw that passes through a metalbar which lies across the rim of the glass where it is fixedwith glue-gun adhesive. The screw is made invisible bywrapping it with black flock paper.

Ideally one needs to use a laser with a good coherence length. What this
means in simple terms for making holograms using one beam is as follows. The
diverged laser beam has to pass through the recording plate and illuminate a
stable object on the other side of the plate, and then the light from the
object has to pass back through the plate and form standing waves with the
incoming light. These are recorded as “fringes” running inside the gelatin like
the pages of a book. This forms a reflection hologram also known as a Denisyuk
hologram. If the laser light were made of just one single wavelength that would
be perfect because the standing wave pattern would be continuous from the plate
to the object regardless of how far away the object was, provided that enough
light comes back from it to form recordable light and dark fringes. However lasers
are rarely so perfect and the light is usually made of a very narrow spread of
wavelengths. If the object is too far back then the returning light gets out of
step with the incoming light and instead of the crests and troughs of the waves
coinciding they clash and fail to form the standing wave pattern. (But, at a
still greater distance they do come back into step again). From the earliest
days of holography, the main workhorse laser was the Helium-Neon or HeNe laser.
This can give a depth of over 20 cm. in a hologram using the red 632.8 nm
wavelength. However in recent years
compared to the cost of a HeNe laser, incredibly cheap red laser pointers have
become available and I have found that in the case of the cheapest small ones
(~5 mw) I can get a surprising depth of several cm. operating in the correct
mode. (A wrong mode causes striped patterns in the hologram but this effect can
be temporary). The much more powerful red laser pointers with powers around 50
and 100mw., I found quite useless for holography unfortunately.

This shows the simple operation of hack-sawing off the lens of a
small red laser pointer (~5mw) to give a very nice bar of clean light. For
stability, the 3 button batteries needed to be replaced by the equivalent 4.5
volts from a large battery with the help of wired up and partially insulated
croc clips. These little laser pointers operate at a much lower current than is
the case for the cheap green laser pointers and therefore temperature stability
is not much of a problem.

With a cheap 532nm green laser pointer , I have managed to get a hologram
depth of just over 3 cm once it had achieved temperature stability after a 10
minute warm-up period using the type
shown below. This time after unscrewing all detachable bits
and then sawing the lens off the end, I got a roughly circular spread beam, part
of the other end of the barrel is also sawn off so that I could attach a variable
3 volt d.c. power supply using croc clips. It is a good idea to hold the laser
in a lab clamp and stand with only bare metal on the clamps jaws (not cork or
rubber) so that it will help conduct the heat away and reach an equilibrium
temperature for stability. Green lasers in the photo seem to operate with a
current around 0.6 amp. But if they get
too hot the light output can suddenly drop very low. The original battery supplied was listed as
3.7 volts and so this value must not be exceeded and it is best to work below
this voltage level. If a holographic image shows a weird stripey image, that
means the laser was operating in an unfavourable mode.

Slightly changing the voltage can often make
the mode O.K. but I am afraid one can be unlucky with these very cheap lasers.
I am very pleased with the luck I have had so far with such cheap laser power. With
the cheapest narrower pen-like green laser-pointers, operating with two AAA
batteries I found I could only get a
hologram depth of little more than 1 cm, but this was still enough for making gelatin
holograms of coins or of slightly angled flat mirrors to make useful sensors
for moisture[ii]
or protease enzymes[iii].
However, for serious holographic imaging one must spend more serious money
getting a laser with a guarantee that it will operate in what is known as TEM00 mode
and a coherence length of over 20 cm.

4 comments:

I have got all the chemicals...I presume a 1% solution is 1 Gram per cent. Just a bit confused about the Acridine Orange which I also have as 50% A.O. from APC. Do I need 0.5G of that or 1G.... I presume 1G.I also think I have found a supplier of Pinacyanol but it is expensive at $130 per gramme.Mark

Thanks for comment. Yes, weight per volume for 1% sdolution. And for acridine orange 0.5G of that will do - but actually what'll happen if you get this concentration wrong is that you'll have a different sensitivity. Oddly enough too much die can kill off sensitivity by blocking the light out in the surface layer of the polymer film.

Hello... again?I tried writing earlier, but i think it failed.Anyway, my question was about the Silver Nitrate. I can find it here in Tokyo in a 500ml bottle, will a solution work the same as the crystal Silver Nitrate?.

The molecular weight of silver nitrate is 170g. It is usually sold in solution with a concentration of 0.1M . That means 17.0 per litre. That is no use in my system which uses 200g per litre. However if the concentration from your supplier is 1.0M then that means 170g per litre. This works really well as long as the solution is free of chloride ions. Jeff